A Quote by Marcus Aurelius

Death - a stopping of impressions through the senses, and of the pulling of the cords of motion, and of the ways of thought, and of service to the flesh. — © Marcus Aurelius
Death - a stopping of impressions through the senses, and of the pulling of the cords of motion, and of the ways of thought, and of service to the flesh.
Death is a release from the impressions of the senses, and from desires that make us their puppets, and from the vagaries of the mind, and from the hard service of the flesh.
The two principles of truth, reason and senses, are not only both not genuine, but are engaged in mutual deception. The senses deceive reason through false appearances, and the senses are disturbed by passions, which produce false impressions.
Nothing disciplines the inordinate desires of the flesh like service, and nothing transforms the desires of the flesh like serving in hiddenness. The flesh whines against service but screams against hidden service. It strains and pulls for honour and recognition. It will devise subtle, religiously acceptable means to call attention to the service rendered. If we stoutly refuse to give in to this lust of the flesh, we crucify it. Every time we crucify the flesh, we crucify our pride and arrogance.
In ways and thoughts of weakness and of wrong, Threads turn to cords, and cords to cables strong.
Self-awareness is your awareness of the world, which you experience through the five senses (sound, touch, sight, taste, and smell). Pay attention to your sensory impressions and be aware of those five ways that the world comes to you.
Seeing occurs, of course, through stopping thought. Thought is the fog. When thought stops in meditation, at any point, when there's no thought, we see the other shore.
It is through the repeated process of feeling impressions, recording them, and obeying them that one learns to depend on the direction of the Spirit more than on communication through the other five senses.
It is odd to think that there is a word for something which, strictly speaking, does not exist, namely, "rest." We distinguish between living and dead matter; between moving bodies and bodies at rest. This is a primitive point of view. What seems dead, a stone or the proverbial "door-nail," say, is actually forever in motion. We have merely become accustomed to judge by outward appearances; by the deceptive impressions we get through our senses.
When you look back over 100 years when stop-motion was really at the dawn of cinema, a lot of the ways it developed was you had stage magicians who were looking to bring their illusions to life, and one of the ways they did that, at the time, was through cinema and stop-motion. They developed these processes.
Images are not only visual. They're also auditory, they involve sensuous impressions, bundles of information that come to us through our senses, and mainly through seeing and hearing: the audio-visual field.
The flesh is what traps us, because no one has ever chosen his or her body to live in, has he? It's the flesh that makes us sick, that makes us old and that eventually ends up killing us. But at the same time, it's that glorious flesh that enables us to scratch heaven through sensuality, through passion. Paradoxically, the flesh that kills us will also make us feel eternal for a brief moment because that's what we are in passion, eternal - we abandon ourselves, we give ourselves to the other, so much that when we are loving passionately, death doesn't exist.
Why all this insistence on the senses? Because in order to convince your reader that he is THERE, you must assault each of his senses, in turn, with color, sound, taste, and texture. If your reader feels the sun on his flesh, the wind fluttering his shirt sleeves, half your fight is won. The most improbable tales can be made believable, if your reader, through his senses, feels certain that he stands at the middle of events. He cannot refuse, then, to participate. The logic of events always gives way to the logic of the senses.
The beginning of human knowledge is through the senses, and the fiction writer begins where the human perception begins. He appeals through the senses, and you cannot appeal through the senses with abstractions.
In the new alchemy, we have a similar kind of way of thinking. Our internal space includes our intuitions, our thoughts, our senses and our feelings, and from these we construct or build a picture of the outside world. From intuition and thought, we construct time. We also construct space from thought and our sensations. From our senses and our feelings, we experience energy, and from our intuitions and our feelings, we experience motion.
I always thought death was cruel, a silent destroyer of breath, of hope, of life. Now I understand it is physical death, the perception of it, the fear of it, which often saves us; for death marks the end of our flesh causing us to question the future of what we are.
Senses empower limitations, senses expand vision within borders, senses promote understanding through pleasure.
This site uses cookies to ensure you get the best experience. More info...
Got it!